Computer Arts -- Sample

CAP105.tut_decal 60

16/11/07 12:12:34

Tutorial

CREATE A

VINYL WALL

DECAL MULTIPLE shows you how to cre ate a digital illustration that ca n be scaled and cut out of vinyl to pro duce a large decorative wall de cal… ver wond

E

ered how one of your digital We start by offering some general plann ing creations would work in relation to a tips and then take you through the steps needed space and environment. Well, stick to create a digital illustration in Illust rator. some cut black vinyl on a white wall Things then get more hands-on with the and you’ll soon find out. In the follow ing tutorial intricate process of cuttin g vinyl and applying we take you through the practical proce ss of it within your prepared space. producing a large black-and-white wall decal From start to finish we show you how and applying it within a physical space this is . an achievable project; how you can turn

something produced on your computer into an extraordinary decorative object. Once you’ve seen how it’s done, you can tailor the process to your own ends and fully explore all the possibilities that vinyl decals hold.

Expertise and illustration provided by Multiple, www.wearemultiple.co.uk.

Xmas 2007

CAP105.tut_decal 61

| 61

16/11/07 12:12:45

Part 1: Working to scale Prepare your composition in the context of a large wall space

1

Take some photographs of the wall space which your decal will decorate. This will help you to visualise and compose your image in its context. It’s a good idea to place an object in the scene which can be used as a point of reference later when scaling. If you can’t get the whole space in one shot, take several pictures and piece them together in Photoshop.

2

We know the wooden frame in the picture is 1,500mm high, so draw a box 150mm high then re-scale the image until the frame matches the height of the drawn box. By this simple combination of a measured point of reference within the image and re-scaling to a set measurement, you are able to determine a working space at one-tenth scale.

3

Print out your photo of the wall and start sketching out your decorative image. This will help you to explore the possibilities of working in an unfamiliar space and format and give you a feel for where your graphic can run across the wall space.

Part 2: Building elements Use simple drawing practices within Illustrator to start creating your individual graphic elements

1

Create a new document. Choose an image you’d like to redraw and place this in the Illustrator document. Lock this layer in the Layers palette. Now click on the new layer button to create a layer above the image that you can draw on without interfering with the image layer below. Locking the source image layer also conveniently ensures that, when selecting drawn objects, this isn’t accidentally picked up as well.

2

Use the Pen tool to begin drawing over the image. Set the Stroke Width to 0.5pt and choose a colour that will stand out against the image to give you a clearer idea of how your drawing is following the original image. You don’t have to follow the image precisely – instead, you can begin to put some of your own personality into the redraw.

|

62 Xmas 2007

CAP105.tut_decal Sec1:62

16/11/07 12:12:55

3

Once you’ve redrawn the silhouette you want, ensure the path is one continuous composite path – that is, all the points are joined. This is essential for the cutting process used later. If you’re not sure, check the path by looking at it in Preview mode (Ctrl/Cmnd+Y). This turns off all the Fill/Stroke/Image information and displays only the path information in its simplest form.

4

Now we’re going to create the punched-out helmet visor. Again, redraw the visor in one continuous path as you’ve just done with the figure. The aim is to have this as a white area (the white wall) so it will have to be ‘punched out’ of the original figure silhouette.

Material costs For this project we’re using simple cut vinyl that is normally used in the signmaking industry. This is a common and affordable material and can be sourced, cut and prepared by any good sign makers. A real bonus to working with this material is that its normal industry use is completely integrated into the digital world. This means that a plotter with a cutting knife can be linked via the correct software and quickly produce a vector design from a roll of vinyl. Our results only used an area 1,200x2,700mm (though eventually bigger on the wall) for a total cost of less than £50.

5

Select both paths to create a single shape. Now go to the Pathfinder palette. Click on the ‘Subtract from shape area’ button. Now click on the Expand button and you’ll be left with one composite object. It’s also good practice to keep duplicates as masters of any objects you’ve drawn on your artboard in case you wish to go back and alter them.

6

You can now transform your basic drawn silhouette by tweaking any of the points, combining it with further objects or punching extras out of it. In this case, we’re looking to make the shapes more fluid, with less specific details. After this, you can redraw other figures as required.

Xmas 2007

CAP105.tut_decal Sec1:63

| 63

16/11/07 12:13:01

Part 3: Finishing your redraw Finalise your drawn elements and prepare your composition in context

1

Now we’re going to create the flowing pipe elements that will link the figures together. Simply draw a single line path for the pipe. Eventually you will need this to be a solid shape for the cutter, so select the path and set its stroke width to the weight you would want it to be. Here we’ve set it to 5pt.

2

You can begin to arrange and position the different figure and pipe elements within your composition. It’s a good idea to do this on your wall space image to help with visualisation. Remember, you’re working to a predetermined scale so bear that in mind when sizing objects.

3

With the pipe path still selected go to Object>Outline Stroke. This will now create a solid outline path based upon the stroke width. From the Pathfinder palette, merge these two objects to create one single shape. Now you’ve got your main object, do the same to all the other figures and pipes.

Part 4: Vinyl cutting Get your vinyl cut and prepare it for application on a flat surface

1

Having already discussed the work with the company cutting the vinyl, we know the maximum width of the vinyl roll is 1,200mm. So we arrange our required elements on a page 1,200mm deep with a length that allows us to fit them all on. We fit as many spare elements and size variations as possible in the gaps to make best use of the vinyl.

The growth of vinyl design Using sign maker’s vinyl in not a new idea. There is, however, a growing demand for its application, especially within the world of interior design, where graphic designers, illustrators and artists are being called upon to use the medium in live projects. Vinyl decals are often applied where certain interiors demand something bespoke to be created for the environment.

Check out the growing group of grafters and crafters at www. domestic.fr and you’ll even find vinyl creeping into the world of fine art in the work of artists like Ian Monroe.

|

64 Xmas 2007

CAP105.tut_decal Sec1:64

16/11/07 12:13:05

Positive/negative spaces When working in black-and-white, think about using the positive and negative spaces. This can be achieved in two ways. First, the positive and negative shapes that are created by the combination of black against white shapes can add real depth and another dimension to the work. A great example of this process is the work of UK illustrator Japser Goodall (www.japsergoodall.com). Second, inverting the usual colour of objects changes the way they appear and creates a new, unique message.

2

Now you can send your artwork off to be prepared. At the vinyl cutters they have the correct software that runs a plotter. The plotter follows the vector paths that have been created and then a knife tool is used to cut the shapes you’ve created from the roll of vinyl.

3

The cut vinyl is taken off the plotter. It’s then laid flat, and the parts of the vinyl that are to be discarded are ‘weeded’ out by hand leaving behind the shapes still on the backing paper. Once picked out, the shapes are then covered with swathes of low-tack masking tape, in preparation for application.

Part 5: Applying your vinyl It’s time to bring your composition alive on your wall space…

1

The prepared sheet can now be laid out flat in your selected space.

Because of the way the elements were arranged on the sheet to get as much on there as possible, the individual sections are cut off the main sheet. This leaves each figure and pipe as its own section, still with the backing paper on the back and the tape on the front.

2

Now you can begin composing your elements on the wall. Simply position each part in place as per your original composition and tape them to the walls using masking tape on their top edges. You can then reposition them until you’re happy with the result.

Xmas 2007

CAP105.tut_decal Sec1:65

| 65

16/11/07 12:13:09

Applying your vinyl, continued...

3

Once you’re satisfied with the composition, you can start sticking the vinyl to the wall. Begin peeling the backing paper off the vinyl and rubbing the vinyl down onto the wall as you go. Go carefully and try to avoid air bubbles as much as possible.

Application Cut vinyl is a very easy material to use.

It’s extremely flexible and can work up walls, across floors, round corners and to add extra effect on glass.

If you’re adding it to glass, an industry tip is to apply with soapy water, then squeegee flat and leave to dry to give a perfectly flat application with no air bubbles.

4

You’re on the final stretch now. Once all your vinyl has been stuck onto the wall, you can begin exposing the finished image. Carefully peel the low-tack tape off the vinyl and wall and you’ll be left with just the vinyl on the wall. It’s worth giving the vinyl another rub down as you go to ensure smooth adhesion.

5

You should now have your final image applied to a wall space. The joy of using vinyl in this way means you could make decals of anything vector based, from type to auto-traced photo, delicate ornamentation to large flat areas of colours, loose collections of shapes to rigid compositions of architectural elements – the possibilities are endless. ca p

|

66 Xmas 2007

CAP105.tut_decal Sec1:66

16/11/07 12:13:20